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Journal articles on the topic 'Russian fairy tale'
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1
Bobodzhanova, Lola. "Peculiarities of national cultural adaptation of Grimm's Fairy Tales when translated into Russian." Litera, no. 9 (September 2020): 111–20. http://dx.doi.org/10.25136/2409-8698.2020.9.33627.
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This article is dedicated to the analysis of fairy tales as a special genre of children's fiction literature with unique features and a long history. In the course of this work, the author gives definitions to the key concepts; examines correlation between the literary fairly tale and folk fairy tale, evolution of fairy tale genre, namely the works of Brothers Grimm. The article the stages of establishment of fairy tales as an independent genre in the history of literature. An attempt is made to determine the genre similarities that make fairy tales comprehensible within the framework of other linguocultures. Special attention is turned to the specificities of national cultural adaptation in translation of fairy tales from German into Russia, taking into account the peculiarities of translation transformations. The conducted analysis allows concluding that children’s fairy tale literature is a reflection of the national linguistic worldview, and largely depends on the existing in the society national cultural traits, mentality and perception of the world. These facts indicate that translation and adaptation of fairy tale literature requires the translator to understand the uniqueness of worldview of the people affiliating to different cultures, as well as convey the national cultural identity and specificities of foreign perception and mentality of the representatives of various linguocultures.
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Puchkov, Pavel, and Said Damzaev. "Elder abuse research based on the analysis of Russian folk works as cross‐cultural communication." Journal of Adult Protection 9, no. 3 (August 1, 2007): 24–30. http://dx.doi.org/10.1108/14668203200700017.
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Non‐Russian readers of Russian fairy tales may find the stories disturbing and harsh, full of cruel and violent acts such as murders, robberies and other illegal actions. In Russia, however, many children grow up reading these fairy tales as part of an ordinary cultural upbringing. This article analyses the subject of elder abuse and disrespect of age as presented in Russian fairy tale works. On the basis of sociological research of the fairy tales, the author draws a conclusion about the prevalence of elder abuse and age discrimination portrayed in the analysed folk works.
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Evtushenko, Olga V., and Hrishika Katyayan. "Russian fairy tale as heteromorphic verse." Philological Sciences. Scientific Essays of Higher Education, no. 6 (June 2017): 3–13. http://dx.doi.org/10.20339/phs.6-17.003.
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MALLAEVA, Zulaykhat Magomedovna, and Zulfia Gazimagomedovna MAMMAEVA. "ACONCEPTUALIZATION OF SPACE IN ENGLISH FAIRY TALE DISCOURSE (IN COMPARISON WITH RUSSIAN FAIRY TALE DISCOURSE)." Herald of Daghestan Scientific Center of Russian Academy of Science, no. 81 (June 30, 2021): 55–59. http://dx.doi.org/10.31029/vestdnc81/8.
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The article examines the features of the conceptualization of space in the English and Russian fairy-tale discourses. Based on the material of English fairy tales: “The Jungle Boo”,"Alice's adventures under ground” and “Winnie-the-Pooh and All, All, All”, the structure of the lexical and semantic field “ Space ” in fairy-tale discourse is analyzed.
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Bobodzhanova, Lola, and Valeriia Alekseevna Kuznetcova. "The peculiarities of translating English and Chinese children's fairy tales into the Russian language." Litera, no. 11 (November 2021): 203–18. http://dx.doi.org/10.25136/2409-8698.2021.11.36118.
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This article is dedicated to the peculiarities of translating English and Chinese children's fairy-tales into the Russian language. Analysis is conducted on such key concepts as “children's fairy-tale”, “literary tale”, and “folklore tale”. The author examines the development stages of English literary tale and Chinese folk tale as independent genres. The main translation transformations used in translating English literary tales and Chinese folk tales into the Russian are explored. Special attention is given to the translation of fairy tales as a form of cross-cultural dialogue due to the fact that such works are loaded with the ethnic-cultural components. The conducted analysis reveals the major challenges face by the translators in dealing with fairy-tale literature. The conclusion is made that the translation of fairy-tale requires taking into account not only the unique genre as such, but also the ethnic-cultural distinctness of different linguistic cultures, foreign mentality, and cultural identity. The scientific novelty consists in the attempt to establish whether it is possible to achieve success in cultural adaptation of English literary tales and Chinese folk tales into the Russian language. The acquired results indicate that the major challenge in translation and cultural adaptation lies in conveyance of cultural uniqueness, as well as ethnic, historical and national flavor of the original texts; it is essential to remember that translation of children’s fairy tale is part of the process of cross-cultural communication, and the translator must become an intermediary of the dialogue of cultures. Fairy tales bear the cultural code of a particular ethnos, being the key to comprehension of the worldview of its representatives. It conveys the socially significant information, embeds moral values, illustrates ethnic-cultural peculiarities, and preserves cultural heritage.
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Norbutaev, Parda. "V. Ya. Propp’s Theoretical Views (On the Example of Russian Folk Tales)." International Journal of Multicultural and Multireligious Understanding 8, no. 4 (April 3, 2021): 330. http://dx.doi.org/10.18415/ijmmu.v8i4.2548.
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In this article, V.Ya. Propp’s methods of studying Russian folk tales from an ethnographic point of view, to what extent can these tales serve as an ethnographic source about Russian people? if possible, he illuminates how ethnographic reality is described in the reality of a fairy tale, and its theoretical views on what the relationship should be between real ethnographic evidence and a fairy tale.
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Piters-Hofmann, Ludmila. "Sleeping Beauty." Experiment 23, no. 1 (October 11, 2017): 45–54. http://dx.doi.org/10.1163/2211730x-12341299.
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Abstract At the beginning of the twentieth century, Viktor Vasnetsov (1848-1926) started his work on the cycle Poema semi skazok [The Poem of Seven Fairy Tales] (1900-26). This self-imposed task included seven monumental paintings depicting popular Russian folktales. Yet, among the representations of famous Russian fairy tale characters, there is a canvas that centers on the Spiashchaia tsarevna [Sleeping Tsarevna] (1900-26), a character originally from Western Europe. This article will focus on the depths of the impact of Western traditions on this seemingly Russian painting by first elaborating on the development of Sleeping Beauty as a character in fairy tales and the spread of her popularity as far as Russia and second by analyzing the painting itself for Russian and European elements in composition and style.
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Shakolo, Aliaksandr V. "“Friend-or-foe” opposition and its implementation through the concepts “house” and “forest” in Russian fairy-tale discourse." Russian Language Studies 18, no. 1 (December 15, 2020): 113–25. http://dx.doi.org/10.22363/2618-8163-2020-18-1-113-125.
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Researches of the discursive analysis become more and more significant sphere of linguistics. Both forest and house act as two main and never identical worlds. The fundamental conceptual opposition of fairy-tale discourse is based on the concepts of house and forest, fundamental opposite worlds. The purpose of the article is to examine the two concepts as crucial components of friend-or-foe opposition, and to reveal features of their representation in Russian linguistic culture. During the research, the author used descriptive, inductive and cultural-historical methods. The research showed that the concepts of forest and house are key components of fairy-tale discourse, have nationally specific features in Russian fairy-tales revealed in the texts. The theoretical relevance of the article lies in the fact that contributes to working out the problem of national worldview representation and Russian ethnos mentality. The practical relevance of the article consists in possibility of using its materials in the process of teaching, while compiling lectures, guides for teachers, seminars on fairy-tale discourse. A role of house and forest for Slavic people is really significant. Besides, the results of the study show the necessity of further analysis of fairy-tale discourse, more detailed description of the concepts and their comparison with the concepts of other national fairy-tales.
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Varnikova, E. N. "Zoonyms in Russian Fairy Tales: to the Issue of Interpretation." Russian language at school 79, no. 7 (July 24, 2018): 83–89. http://dx.doi.org/10.30515/0131-6141-2018-79-7-83-89.
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The article considers the zoonym system of Russian fairy tales. The author determines the species composition of the animal characters, analyses various versions of the origin of the fairy-tale zoonyms, describes the semantic and word-formation zoonimic models, identifies the zoonyms used in the texts of fairy tales and reveals zoonymic microsystems of individual works.
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Youngrang Ko. "Animation and Russian Fairy-tale Content around 『Geese-Swans』." Russian Language and Literature ll, no. 41 (October 2012): 7–27. http://dx.doi.org/10.24066/russia.2012..41.001.
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Avdeeva, A. E., and N. M. Dmitrieva. "FEATURES OF STUDYING ETHICAL CONCEPTS OF RUSSIAN FAIRY TALES IN THE LESSONS OF RUSSIAN AS A FOREIGN LANGUAGE." Vestnik Orenburgskogo gosudarstvennogo universiteta 225 (2020): 53–60. http://dx.doi.org/10.25198/1814-6457-225-53.
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The fairy tales contain plot and language elements that illustrate the ethical concepts of the Russian language picture of the world. Linguistic and cultural unit, which is rich in Russian fairy tale, known to every native speaker, on the one hand, complicate the understanding of them foreigners, and on the other help to understand the “Russian spirit” and traditions of Russian involved in Russian culture and allow formation of linguocultural competence for learners of Russian language. When referring to fairy tales, it is effective to use a linguocultural comment. Linguistic and cultural commentary refers to additional culturally significant information contained in texts and disclosed in their interpretation. This comment can be used at the elementary and basic levels. At an advanced level, you can analyze concepts that reveal the features of the Russian worldview. Ethical concepts reflect the value picture of the human world. These concepts include love and loyalty, humility and submission, joy and suffering, wisdom and patience, charity, and others. Russian fairy tales, describing the way of life, customs and traditions, spiritual and ethical values of the Russian people, are a reflection of the Russian mentality. For successful communication with native speakers and comfortable stay in a foreign language space, foreigners need to understand the values and mentality of the Russian people. Studying ethical concepts in fairy tales in the RFR classes forms a linguistic and cultural competence for foreign students, whose knowledge leads to rapid and successful adaptation in Russia, and the elimination of cultural and communicative barriers when communicating with native speakers of the Russian language.
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Vučković, Dijana, and Vesna Bratić. "Propp Revisited: A Structural Analysis of Vuk Karadžić’s Collection Serbian Folk Fairy Tales." Zeitschrift für Slawistik 65, no. 3 (August 4, 2020): 335–67. http://dx.doi.org/10.1515/slaw-2020-0017.
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SummaryIn the mid-19th century Vuk Stefanović Karadžić collected folk tales in the broader South-Slavic region and published them in a collection titled Serbian Folk Tales. Folk fairy tales make the major part of the collection. In this paper, the authors determine the folk fairy tale structure according to the methodology proposed by Vladimir Propp in the Morphology of the Folktale. The aim of the paper is to investigate, whether these fairy tales can be fully described using Propp’s Morphology. Propp’s model of the meta-folk fairy tale was developed inductively based on a rich, comprehensive, yet limited, corpus of Russian folk fairy tales, which opens up space for further testing of the proposed model.The hypothesis was set that the analyzed folk fairy tales completely conform to the plot structure of the meta-folk fairy tale with a maximum of 31 functions as proposed by Propp. The hypothesis is grounded in: 1. the time when the folktales were collected (mid-19th century, the same time as the Russian collection analyzed by Propp) and 2. the similarity of the South Slavic peoples with the peoples of the Slavic East.However, after categorial and structural analyses of the corpus were performed, it was clear that the hypothesis could not be accepted in its entirety. In the analyzed folk fairy tales, no new functions were found as compared to the 31 functions identified by Propp, but some of these functions were altered as compared to those to be expected in folk tales. This alteration occurred not only regarding the changed order of functions, assimilation and cases of dual morphological meanings of functions, but also in terms of the fantastic category of the marvelous, which is the core feature of the fairy tale genre, whose nature was changed. The study identified the rationalization of some magical motifs, which partially mitigates the quality of the miraculous in the fairy tale and found out that, in some cases, the marvelous was mitigated and “shifted” towards the (merely) fantastic. This was achieved by introducing oniric elements. One of the important conclusions of our study of the fairy tale is that these fairy tales, although labeled as folk tales, feature significant authorial intervention.
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Khalilov, Ruslan O. "The commonality of the story of V. Kataev “Knives” and the Russian fairy tale." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 21, no. 3 (August 25, 2021): 324–30. http://dx.doi.org/10.18500/1817-7115-2021-21-3-324-330.
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The article analyzes the similarity of the actions of the hero in the story “Knives” by V. P. Kataev and the character functions in Russian fairy tale. In order to establish the commonality of the story “Knives” and the Russian fairy tale, a comparison is made and the relationship between the actions of the hero of the story and the character functions in the fairy tale is determined by the monotony and compositional sequence.
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Khalilov, Ruslan O. "The commonality of the story of V. Kataev “Knives” and the Russian fairy tale." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 21, no. 3 (August 25, 2021): 324–30. http://dx.doi.org/10.18500/1817-7115-2021-21-3-324-330.
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The article analyzes the similarity of the actions of the hero in the story “Knives” by V. P. Kataev and the character functions in Russian fairy tale. In order to establish the commonality of the story “Knives” and the Russian fairy tale, a comparison is made and the relationship between the actions of the hero of the story and the character functions in the fairy tale is determined by the monotony and compositional sequence.
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Горбаткина and Irina Gorbatkina. "We Study Russian People’s History by Means of Fairy Tale." Primary Education 3, no. 3 (June 17, 2015): 46–49. http://dx.doi.org/10.12737/11735.
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A problem of folklore and authors’ fairy tales use as means of junior schoolchildren acquaintance with the Russian people’s history and household
culture is discussed in this paper. Examples of fairy tales and technique of work with outdated terms and concepts which meet in these fairy tales
are given. Material can widely be used at world around lessons when studying corresponding historical subjects.
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Telpov, Roman Evgenyevich, and Hanqing Wang. "Idioms of russian fairy tale from the viewpoint of the carrier of the chinese language (on the material of the fairy tale «the frog princess»)." Development of education, no. 2 (4) (June 27, 2019): 99–101. http://dx.doi.org/10.31483/r-32787.
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The article analyzes the idioms used in the fairy tale «The Frog Princess» in terms of the possibility of their transmission by means of the Chinese language. Analysis of the material allows us to conclude that in most cases Russian idioms is translated into Chinese through the use of free phrases. Through the use of idioms in Chinese option, characterized by increased expressiveness and occupy a nodal place in the fairy tale. The article analyzes the main differences between Russian idioms and substitute them tales in Chinese idioms.
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Shustov, M. P. "STUDY OF I.A. BUNIN'S CREATIVITY AT SCHOOL (NEW READING BASED ON INFORMATION CULTURE)." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, no. 79(1) (2021): 22–26. http://dx.doi.org/10.37313/2413-9645-2021-23-79(1)-22-26.
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Тhe article is devoted to the role of information culture in the analysis of I. A. Bunin's artistic creativity. The purpose of the article is to study the role of fairy-tale poetics in the formation of the original style of the writer, the influence of fairy tales on the in-depth disclosure of the inner world of Bunin's hero and the formation of a specific Russian character based on the fairy-tale worldview. Materials and methods: The novelty of the work lies in a new approach to the work of I. A. Bunin. Based on comparative, literary and informational research methods, the author of the article proves the advantage of literary analysis based on information culture. Research results: analyzing the works of I. A. Bunin, the author of the article comes to the conclusion that the success of the writer in creating his original author's style is directly related to the use of normative fairy-tale poetics, which has been formed by folk tales for centuries. Discussion and conclusion: I. A. Bunin, relying on fairy-tale poetics, creates his own unique style. On the one hand, he creates his own literary fairy tales, on the other, using poetic techniques of the fairy-tale genre, turning them into an effective tool.
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Zaveljskaya, Darya A. "Features of Russian fairy-tale drama of the first half of the 19th century: articulation of the issue." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 61 (2021): 151–65. http://dx.doi.org/10.37816/2073-9567-2021-61-151-165.
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The paper deals with the issue of forming of fairy tales artistic model in Russian drama. Currently, one considers dramatic fairy tale mainly in a general context of development of the author's literary fairy tale, although it has its own specifics. The study reviews some questions on the style and genesis of the Russian literary fairy tale for children in relation to the development of author's literary fairy tale as such. The author analyzes the influence of poetics of romanticism on the specifics of dramatic fairy tale, as well as the features of dramatic works by V. F. Odoevsky, who significantly influenced children's literature. His play “The Tsar-Maiden,” intended for children, is considered in comparison with a play by E.-T.-A. Hoffmann “Princess Blandina,” with similarities found in the system of characters, motif of matchmaking and some plot features associated with this motif. The fairy-tale play for adults “Segeliel or Don Quixote of the 19th century” analyzes the motifs of personified confrontation of good and evil and the interpenetration of magic and the ordinary, which was characteristic of romanticism in general and embodied both in other works of Odoyevsky and in later, mainly children's fairy-tale drama. The author suggests the possibility of influence of Odoevsky's plays on the development of children's drama. In both plays, we see the conventionality of artistic reality, resonating with humorous or ironic author's intonation. The paper also addresses I. A. Krylov's magical comic opera “Ilya Bogatyr,” revealing many characteristic features of Odoevsky's plays. At the same time, a distinction is made between Krylov's work and romantic direction, since the tradition of classicism is more clearly manifested in it. One may consider a reduction in pathos owing to humorous playing of heroic and mystical motifs as a feature of the comic opera. The analysis of these works allows us to formulate some characteristics of artistic model of the fairy-tale play, including conventionality of a fictional world, unexpected turns, personification of good and evil, unsteadiness of boundaries between the miracle and the ordinary, as well as humor and irony.
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Veprev, Aleksandr Ivanovich. "Matryoshka version of the Russian verlibre." Litera, no. 4 (April 2021): 64–92. http://dx.doi.org/10.25136/2409-8698.2021.4.35358.
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Referring to the possibility and need for an experiment in literary studies, mentioned in the early XX century by the Soviet literary theoretician and poetry scholar Boris Yarkho, who paid particular attention to the transformation of the genre and the structure of expressive means as a whole, the author of this article analyzes the new form of the Russian verlibre (free verse), its varieties of the most probable form, attempting to determine its most characteristic typology, as well as to introduce into the concept of the matryoshka verlibre the two main forms, two of its fundamental metaphases and several subvarieties: 1. Verlibre in verlibres (verlibre in several verlibres); 2. Verlibre in verlibre (several verlibra in one verlibre). The author also distinguishes two subvarieties that are formed from the verlibre in verlibre: 3. Veprlibr (large verlibre in several verlibres); 4. Aphoristic verlibre (verlibre in several aphorisms), and others. The main conclusion of the conducted analysis of the new form of the matryoshka verlibre consists in the fact that matryoshka verlibre is patterned by a catenate fairy tale and is attributed to the type of catenate fairy tale (cumulative fairy tale, recursive fairy tale, chainlike fairy tale). The verlibre, in which dialogues or actions are repeated and develop in a modified form according to the plotline, belongs to the matryoshka verlibre. The effect of these verlibres is based on the repeating narrative, characteristic image and action changing for one or another reason and reaching culmination. In this case, semantic differentiation of the text is viewed as a synthesis of both dimensions, where any component of the work is simultaneously motivated by the coherence of such element that it creates with other elements, as well as semantic union of the elements that are subject to destruction, and belong to different components of the entire work. A matryoshka doll serves as an example.
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Kozlova, N. K. "The fairy-tale repertoire of A. S. Kozhemyakina collected by Omsk local historian I. S. Korovkin (based on materials of the folklore archive of the Omsk State Pedagogical University)." Languages and Folklore of Indigenous Peoples of Siberia, no. 38 (2019): 5–15. http://dx.doi.org/10.25205/2312-6337-2019-2-5-15.
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The article is devoted to the analysis of fairy-tale material from the folklore collection of the Omsk local historian I. S. Korovkin whose wide collection of folklore materials is stored in the folklore archive of the Omsk State Pedagogical University. The article will focus on the texts of fairy tales written by a collector from a Siberian performer Anastasia Stepanovna Kozhemyakina, manuscripts of these recordings are stored in the folklore archive of the Pedagogical Uni- versity. Of the 40 fairy tales recorded by Korovkin from the performer, the author of the article was able to identify (from archival records and published materials) 36 texts. The repertoire represents the Russian old-time tradition of Siberia. Tales by A. S. Kozhemyakina reflect the process of the existence of a folklore text in the oral tradition (which is typical for the late XIX - early XX centuries). The bearers of the tradition have a certain “baggage” or a set of elements specific for a particular genre (poetic, content) in order to “form” a text from these elements when reproducing it. "Forming" a fairy tale, Kozhemyakina takes out any element, image, plot episode, etc. from her fairy-tale "baggage". It includes not only fairy-tale, but also epic episodes, formulas, elements, as well as images, plot conflicts from adventure stories or novels. Fairy-tale contaminations are also peculiar. They are as well due to the specifics of the oral existence of fairy tales. A special publication of this fairy-tale heritage with scientific commentary on each text is needed.
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Xu, Jingting, and Yuliya Viktorovna Ageeva. "Discursive Typology of Fairy Tale (by the Example of A. N. Afanasyev’s Collection “Russian Fairy Tales”)." Filologičeskie nauki. Voprosy teorii i praktiki, no. 2 (February 2020): 134–39. http://dx.doi.org/10.30853/filnauki.2020.2.26.
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Panchenko, Alexander A. "The “Kirghiz Fairy Tale” in The Gift: Nabokov, Folklore, and Orientalism." Studia Litterarum 6, no. 1 (2021): 266–99. http://dx.doi.org/10.22455/2500-4247-2021-6-1-266-299.
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In the second chapter of The Gift, Fyodor Konstantinovich Godunov-Cherdyntsev recalls a “Kirghiz fairy tale” about a human eye that wants “to encompass everything in the world.” The plot of the story goes back to a Talmudic parable about Alexander the Great. The parable was retold in Russian by a number of writers and scholars in the 19 th and early 20 th centuries. However, it seems unlikely that Nabokov did use in any original piece of Inner Asian folklore in his novel. More probable is that he invented the “fairy tale” proceeding from one of the Russian versions of the parable. At the same time, Nabokov’s version is based on a number of international literary and folkloric motifs and is related to the “Kalmyk fairy tale” in Pushkin’s novel The Captain’s Daughter and to 19 th century Russian literary fairy tales in verse. While the central theme of Nabokov’s parable is the insatiability of human vision and the frailty of life, its con- and subtexts allude to some other recurrent themes of the novel — death and immortality, the quest for paradise, closed doors and exile, sources of love and poetical inspiration. The Oriental coloring of the tale (and the second chapter of the novel in general) appears to be a literary play with a limited number of texts, in particular with The Captain’s Daughter and A Journey to Arzrum. This allows discussing the “Kirghiz fairy tale” as an intratextually meaningful part of the novel rather than a marginal encrustation. It seems that Nabokov’s literary work with “migratory” plots and folklore texts was in a way close to the methods and ideas developed in Alexander Veselovsky’s school of comparative literary studies.
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Merrill, Jason. "From Fairy Tale to "Dramatic Fairy Tale": Fedor Sologub's Nocnye pljaski, Intertextuality, and the Crisis of Russian Symbolism." Scando-Slavica 50, no. 1 (January 2004): 111–29. http://dx.doi.org/10.1080/00806760410011141.
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Burykin, Aleksey A. "To the results of the discussion about the folklore identity of the Kalmyk tale from “The Captain’s Daughter” by A.S. Pushkin." Neophilology, no. 23 (2020): 503–11. http://dx.doi.org/10.20310/2587-6953-2020-6-23-503-511.
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The subject of the work is the Kalmyk fairy tale about the eagle and the raven, which is present in the story of A.S. Pushkin “The Captain’s Daughter” (1836). One group of scientists believes that this fairy tale-parable was composed by A.S. Pushkin himself. We represent those researchers who recognize this fairy tale as an independent work of A.S. Pushkin during a trip to the Orenburg region. Despite the fact that this tale is absent in the manuscripts of A.S. Pushkin and is not identified in the folklore of Russian Kalmyks, there are serious reasons to recognize it as an original work of Kalmyk folklore. This is convinced by the structure of the tale’s plot, which is becoming a series of tales about the relationship of animals, the recording of a similar tale among the Evens – the people of the Tungusic group, the existence of the same tale among the Xinjiang Kalmyks, the availability of information about the Kalmyk woman who told this tale to A.S. Pushkin, the widespread opposition of the eagle and the raven in the folklore of the peoples of the world, the presence of such semantic structures in the indexes of fairy tales and motives of S. Thompson. By the nature of the semantic elements composition and the plot structure, we can judge that neither A.S. Pushkin, nor anyone else could have composed such a fairy tale.
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Tsui, Ts. "LINGUISTIC FEATURES OF RUSSIAN FOLK TALES." BULLETIN Series of Philological Sciences 77, no. 3 (September 15, 2021): 44–51. http://dx.doi.org/10.51889/2021-3.1728-7804.06.
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Russian folk tale surprises with its rich vocabulary, colorful turns, and unusual stylistic methods. In order to plunge into the world of the Russian folk tale, in this article, we will analyze each feature separately and highlight more indicative features in each. The tale has a generalizing idea that has been developed over the centuries. In a fairy tale, artistic thought itself plays a huge role, and this unity is created thanks to certain means: repetitions, epithets, hyperbole, antithesis and other stylistic and compositional techniques. From the point of view of their stylistic specifics, Russian folk tales are taken a particular interest. Ergis G.U. argued that not only their content but also the stylistic features of the text serve as a means of moral education of the reader. The grammatical properties of units consist of: forms of words, phrases, sentences, order of units, grammatical meanings of forms, etc.
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Urunova, R. D. "LINGUISTIC PROCEDURAL SUPPORT FOR THE RESEARCH OF THE RUSSIAN FAIRY TALE PLOT." Bulletin of Udmurt University. Series History and Philology 31, no. 6 (December 29, 2021): 1343–50. http://dx.doi.org/10.35634/2412-9534-2021-31-6-1343-1350.
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The article is devoted to one of the ways of studying the plot of a fairy tale, which was developed as a result of a consistent comprehensive understanding of ideas and concepts in the Russian and French schools of plot composition. The article provides an analytical representation of the concepts of the actant and the actant model, as well as highlights the main stages of the procedure for identifying them from the text. Special attention is paid to the identification and analysis of the verbal expression of the functional and qualitative characteristics of the characters of a fairy tale. Functional characteristics allow us to determine the actant position of the hero in the plot model, and qualitative characteristics help to identify his spiritual traits. In the article, Greimas's methodology is used to correctly identify the plot structure of the Russian folk tale "The Tsar Maiden". To illustrate the research procedure, a fragment of the actant analysis of the fairy tale is given, which presents the procedure of studying a parallel corpus of statements, containing all characteristics and functional messages of one of the characters of the fairy tale. As a result of the semantic analysis of verbal qualitative and functional characteristics, the actant position of the character is determined, which helps to reconstruct the actant model, which is the constructive basis of the tale's plot.
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Cisse, Coumba. "Totemic symbol, character of Russian tales – bear." Neophilology, no. 21 (2020): 164–69. http://dx.doi.org/10.20310/2587-6953-2020-6-21-164-169.
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The research is about the most ancient symbolism of a bear in Russian folk tales, the analysis of the bear image anthropocentrism in these fairy tales is carried out, the results of the bear’s study as a totemic symbol and a Russian fairy tale character are presented, an attempt to prove cult significance of the bear for the society of the entire ancient Slavic ethnos and its status as an elder of the ancient Slavic ancestral family is made. In ancient times, people believed in the existence of a kinship between a human and a bear, since the behavior and appearance of a bear resembled a person more than other representatives of the animal world (this is because the Slavs were not familiar with primates, as in ancient India): according to a folk-belief, the bear loves and nurses his children, eats the same food as a man, he does not have a tail, like other animals; he walks on his hind legs and can dance, so in fairy tales he is assigned the role of a landowner and a defender. However, he is deceived in many fairy tales, because the bear is the owner, the king of the forest, so he is associated with the chief and the landowner, and according to Russian folk ideas, the chief, in fact, is more stupid than a simple man.
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Vavilova, Kseniya Yur'evna. "Symbolism in the English and Russian fairy tale folklore: comparative analysis." Филология: научные исследования, no. 11 (November 2021): 94–106. http://dx.doi.org/10.7256/2454-0749.2021.11.36438.
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The subject of this research is the symbolism in the English and Russian fairytale tradition. The object is the texts of the Russian and English fairy tales. Analysis of the texts reveals the typical functions performed by symbols in both folklore traditions. The author provides the examples of symbols and offers the interpretation of objects-symbols, symbols-zoonyms, color and number symbols, time and space symbols. Comparative study of folklore heritage of non-cognate languages reveals the fundamental commonness of a particular folk genre of different peoples in their perspective upon reality, methods of depiction, and ideological interpretations. The scientific novelty consists in conclusions obtained in the comparative study of the symbolism of fairy tale texts in the Russian and British folklore, which is important for determination of linguistic, semiological and cultural universals. The comparative study of folklore material of two traditions in the sphere of the poetics of folklore reveals the traditional universals and unique features on the level of symbolism of the fairy tale genre. Within the framework of the article, the author analyzes the functionality of thematic, animalistic, color, spatial-temporal, and numerical symbols. The acquired results are underpinned by a large number of text examples.
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Korolkova, Polina V. "Looking for national and genre identity in the modern Russian and Hungarian author fairy tale (on the example of the texts by A. Kabakov, A. Stepanov and A. Mosonyi)." Slavic Almanac, no. 3-4 (2020): 383–98. http://dx.doi.org/10.31168/2073-5731.2020.3-4.4.05.
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The essay deals with the interaction between the genre transformations of the author fairy tale and the national problematics, as well as the question of the modern strategies of genre renewal on the example of the texts by modern Russian and Hungarian writers (“The Moscow fairy tales” by A. Kabakov, “The fairy tales not about people” by A. Stepa-nov, “The Budapest fairy tales” and “The supermarket fairy tales” by A. Mosonyi). Among other questions, I address the so-called “genre me-mory” (M. Lipovetsky’s term), which in the texts by Kabakov, Stepanov, and Mosonyi functions at the level of entire cycles but rarely at the level of separate texts. With regard to the fi eld of children’s literature, the na-tional locus makes the texts appear more modern-looking and therefore appealing to an adult reader who rediscovers the details of everyday life. The opposite strategy is often applied in the philosophical, parable or political fairy tales, when the authors give priority to the nation-specifi c, nuanced and recognizable locus, which at the same time receives the features of the fairy tale or mythological space.
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Коровина, Надежда Степановна. "Tradition and Modernity in the Work of Komi Storytellers (SUS 502 “Copper Forehead”)." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 3 (September 25, 2021): 66–78. http://dx.doi.org/10.26158/tk.2021.22.3.005.
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Глубокая и прочная связь коми и русской сказочных традиций отмечалась неоднократно, вместе с тем конкретных разысканий по данной проблеме недостаточно. По этой причине в статье предпринята попытка исследовать особенности взаимодействия сказок соседних народов, принадлежащих к разным языковым семьям, но имеющих близкие культурные традиции. Материалом стал сказочный сюжет СУС 502 «Медный лоб». Проанализировав пять вариантов коми сказки, можно заметить, что в них реализованы все значимые эпизоды этого сюжетного типа. Однако наблюдения над коми региональным материалом меняют представление о стабильности законов народной сказки. При современном процессе затухания сказочной фольклорной традиции произошли изменения в наиболее устойчивой ее составляющей - сюжетно-композиционном строении. Широкое варьирование коми сказочниками сюжетов, образов, их трансформация привели к «новеллизации» некоторой части коми сказок, превращению их в авантюрно-фантастические устные повести. Традиционные сюжеты переосмыслялись прежде всего путем контаминации, а также путем сближения фольклорных сказок с русскими книжными произведениями. Приведенные примеры закономерных изменений отнюдь не говорят о полном разрушении его глубинной традиционной основы. Исследование показало, что коми сказочники имели представление о традиционной сказочной обрядности, широко ими пользовались, что во многом способствовало сохранению волшебной сказки как жанра. The strong connection between the Komi and Russian fairy tale traditions has been noted repeatedly, yet research on this issue is clearly insufficient. In this article the author attempts to define the interaction of fairy tales of these neighboring peoples which belong to different linguistic families but which have closely related cultural traditions. Its specific focus is fairy tale SUS number 502 “Copper Forehead.” It examines five Komi variants of the fairy tale that contain all of the significant elements of this plot type. Examination of the Komi material challenges the idea that the laws governing folktales are stable. With the fading of folkloric traditions, there have been changes in fairy tales’ most stable components, their plot and compositional structure. Komi storytellers have introduced changes that transform Komi fairy tales in the direction of “novelization,” turning them to some extent into oral tales of adventure and fantasy. Traditional stories are reinterpreted primarily due to contamination, including bringing folklore tales closer to those from Russian books. At the same time, these normal changes by no means indicate the complete destruction of Komi folklore’s deep traditional basis. The study also demonstrates that Komi storytellers have had a clear notion of traditional fairy-tale patterns and made wide use of them, which has largely contributed to the preservation of the fairy tale as a genre.
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Zueva, Ekaterina, Tatiana Vasilieva Shalneva, and Oleg Osovskiy. "Genre Transformation of the Fairy Tale in Contemporary Russian Literature." Journal of History Culture and Art Research 6, no. 4 (September 30, 2017): 436. http://dx.doi.org/10.7596/taksad.v6i4.1110.
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Komarova, M. M. "Binary Oppositions in the Conceptosphere of the Russian Fairy Tale." Philologos 48, no. 1 (2021): 55–60. http://dx.doi.org/10.24888/2079-2638-2021-48-1-55-60.
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Shchurik, Natalia V., and Vera E. Gorshkova. "Magic Folk Tales in Intersemiotic Translation." Russian Journal of Linguistics 23, no. 2 (December 15, 2019): 415–34. http://dx.doi.org/10.22363/2312-9182-2019-23-2-415-434.
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The present paper examines intersemiotic translation of magic folk tales. Research objective is to show the structural identity of the surface structure which can be described as a sequence of plot elements (“functions”) of fairy-tale characters; in semiotic terms it is explained by the existence of a universal matrix defining the law of genre. The authors go on to the cognitive-culturological aspect of fairy tales in terms of N. Chomsky. This research paper has clearly shown that “functions” of the surface structures correspond to plans, scenarios and frames of the deep structures, which differ in British and Russian magic fairy folk tales (wonder folk tales). Numbers and proper names are the main permanent elements of fairy tale narrative: on the level of the surface structures they connect the universal matrix of a fairy tale discourse organizing space and rhythm and at the level of the deep structures - they help to understand the main features of the national character. The study is based on 13 fairy-tale film corpus, under the common theme “Beauty and the Beast”, film adaptations of the fairy tales “La Belle et la Bête” by J.-M. Leprens de Beaumont (1757) and “The Scarlet Flower” by S.T. Aksakov (1858). Hence, the analysis of the latter based on the works of R. Jacobson and W. Eco and understood by the authors as a kind of intersemiotic translation / interpretation that, on the one hand, proves universality of the proposed algorithm for studying fairy discourse in synchrony and diachrony. On the other hand, it plays the most important role in intersemiotic translation of diachronic aspect because it deals with changing the “integral model of reality”, which is reflected, in particular, in changing the on-screen presentation / interpretation of certain aspects of the fairy-tale narrative. Finally, it is worth pointing out that the conclusions can be used to study plurality of film adaptation as a form of intersemiotic translation.
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БОЛДЫРЕВА, О. Н., and Б. ЛИ. "COMPARATIVE ANALYSIS OF RUSSIAN AND CHINESE FAIRY TALES: CONTRAST IN CULTURES." Kavkaz-forum, no. 6(13) (June 21, 2021): 52–63. http://dx.doi.org/10.46698/vnc.2021.13.6.004.
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Сказки как художественное творение человеческого чувства, духа детства являются кристаллизацией коллективной мудрости, имеют важные языковые и культурные ценности, отражают взгляды людей на человеческую природу. Сказки, как правило, имеют явную иронию и воспитательную природу, используя метафорические методы, чтобы описать предмет, в них глубокая правда проявляется в простой истории. Культурные различия между Китаем и Россией являются важным предметом изучения языка и культуры. Для того чтобы лучше понять китайскую и русскую культуры, углубить взаимопонимание между двумя народами и укрепить обмен между Китаем и Россией, необходимо изучать противоречивые характеристикирусского и китайского характера, что и предпринято в этой статье на материале сказок. На основе анализа русской и китайской сказок в статье сравнивается слабый характер персонажей и раскрываются уникальные национальные стили Китая и России. Путем описания слабого характера проявляются благородные духовные качества. Сказочный жанр русского и китайского фольклора в разной степени изучен, но в последнее время большой интерес проявляется к изучению китайских волшебных сказок. В этой работе мы преследуем следующую цель – провести сравнительно-сопоставительный анализ русской и китайской сказок для выявления общих ценностных ориентаций. Китайский и русский фольклор развивался по-разному, но сегодня сказка является одним из центральных предметов изучения фольклористов обеих стран. Fairy tales as an artistic creation of human feeling, the spirit of childhood are crystallization of collective wisdom, have important linguistic and cultural values, reflect people's views on human nature. Fairy tales tend to have a clear irony and educational nature, using metaphorical methods to describe the subject, in which deep truth manifests itself in a simple story. The cultural differences between China and Russia are an important subject of language and culture study. In order to better understand Chinese and Russian cultures, deepen mutual understanding between the two peoples and strengthen exchanges between China and Russia, it is necessary to study the conflicting characteristics of the Russian and Chinese character, which is what this article has undertaken on the basis of fairy tales. Based on the analysis of Russian and Chinese fairy tales, the article compares the weak character of the protagonists and reveals the unique national styles of China and Russia. By describing a weak character, noble spiritual qualities are manifested. The fairytale genre of Russian and Chinese folklore has been studied to varying degrees, but recently a great interest has been shown in the study of Chinese fairy tales. In this work, we pursue the following goal - to carry out a comparative analysis of Russian and Chinese fairy tales to identify common value orientations. Chinese and Russian folklore developed in different ways, but today the tale is one of the central subjects of study of folklorists of both countries.
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Voiteleva, Тatiana М. "Fairy tale as a means of formation of spiritual and moral values of a person." Pedagogy and Psychology of Education, no. 1, 2020 (2020): 31–37. http://dx.doi.org/10.31862/2500-297x-2020-1-31-37.
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The paramount role in solving the problem of the formation of spiritual and moral qualities of the individual is played by the acquaintance of students with the national picture of the world, the basis of which are the characteristics of the culture of the people. Folklore is the conductor of national culture. Main attention is paid to one of the genres of the Russian folklore – a fairy tale, because it is in fairy tales that the best features of the people are reflected, contributing to the formation of moral values of students. The author determined not only the educational, but also the artistic value of fairy tales. The main aspects of the work on the analysis of the fairy tale are outlined: text analysis in the dialogue of cultures, the use of symbols, idioms, and appeal to the visual and expressive means of the language that contribute to a better understanding of the text.
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Karlamova, E. "Archetypical Bases of Russian Patriotic Animated Content." Scientific Research and Development. Modern Communication Studies 9, no. 6 (December 9, 2020): 23–26. http://dx.doi.org/10.12737/2587-9103-2020-23-26.
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The archetypal foundations of the image of the Russian animation hero are analyzed at the article. The epic and fairy-tale features of the character are designated, the features inherent in the image are formulated, dating back to both Western mass culture and domestic Soviet animated content.
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Lyzlova, Anastasiya. "AB OVO: ABOUT SEMANTICS OF THE RUSSIAN FAIRY TALE᾽S IMAGE." Проблемы исторической поэтики 14 (December 2016): 136–52. http://dx.doi.org/10.15393/j9.art.2016.3748.
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Nesterova, Olga A. "The Chronotope of Fairy Tale in Guzel Yakhina’s Novel “My Children”." Observatory of Culture 16, no. 6 (December 30, 2019): 584–94. http://dx.doi.org/10.25281/2072-3156-2019-16-6-584-594.
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The article examines the chronotope of fairy tale as a basic plot component in the structure of the novel “My Children” by the contemporary Russian writer Guzel Yakhina. The article investigates the ways of archetypical space functioning within the system of mythological time, and analyzes the principal space and time coordinates of the lives of main characters and their interaction. There is shown that Yakhina’s appeal to the genre elements of fairy tale allows her to underscore the universal and all-encompassing nature of the historical processes that shaped the tragic fate of the Volga Germans in Soviet Russia. In the novel “My Children”, the plots and images of German folklore serve as a basic model for organizing different types of space arising from the stable archaic communicative models and cultural archetypes of folk tradition. The novel presents such elements of the space and time continuum of fairy tales as the existence of borders (both open and closed) and the character’s travels within different worlds; the transformative capacity of space and time (extension and compression, appearance and disappearance, plasticity and rigidity, dynamic and static properties, etc.); the link between the “lower” and the “upper” worlds or the “space of giants” and the “space of dwarves”; and the mutual influence of space and time characteristics. The article identifies the semiotic and semantic properties of the underground, underwater, aquatic, terrestrial and aerial spaces presented in the novel. The everyday and socio-historical space and time continua in the novel are a mirror reflection of the space and time characteristics of fairy tale, while archetypes are incarnated in the domain of social interaction. Yakhina’s novel “My Children” presents such chronotopic features as relativism, invariance, and symmetry. The use of the archetypical structure of fairy tale allowed the writer to make a literary analysis of complex socio-cultural and socio-psychological processes.
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Chertousova, S. V. "ADAPTATION OF THE NATIONAL WORLD PICTURE IN RUSSIAN TRANSLATIONS OF HORACIO QUIROGA’S TALES." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 142–49. http://dx.doi.org/10.35634/2500-0748-2020-12-142-149.
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The present research reveals the specifics of translations of Horacio Quiroga’s tales into Russian from the point of view of cultural linguistics. The relevance of the problem discussed is due to the growing interest in the discourse of fairy tales in modern linguistics and numerous attempts to translate and adapt classical fairy tale stories to different cultures. The choice of the analyzed material is determined by the presence of various types of vocabulary with national and cultural components in the tales of Horacio Quiroga that reflect the national world picture of the peoples of South America and constitute the aesthetic value of a literary work, which must be adequately conveyed in the translation. The introduction clarifies the notion of the national world picture and defines its components in a literary tale. The specific features of construction and linguistic content of Horacio Quiroga’s texts are highlighted. The purpose of the study was to identify the optimal strategy for conveying the national and cultural background in the translation of literary tales into Russian. The main difficulties in conveying the onomastic component of a tale and the employed figures of speech in translations from Spanish into Russian are analyzed. Special attention is given to the methods of compliance with the genre and style norms of translation, including the neutralization of elements of cruelty and naturalism in modern fairy tales for children. As a result, a conclusion is made that the domestication strategy makes it possible to adapt the text for the recipient who does not have an extensive background knowledge about the culture of the original text, which is especially important when translating children’s literature. The inevitable loss of information does not affect in any way the adequate transfer of the national world picture to a different culture and the reflection of the main moral values laid down by the author in the literary work.
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Chertousova, S. V. "ADAPTATION OF THE NATIONAL WORLD PICTURE IN RUSSIAN TRANSLATIONS OF HORACIO QUIROGA’S TALES." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 142–49. http://dx.doi.org/10.35634/2500-0748-2020-12-142-149.
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The present research reveals the specifics of translations of Horacio Quiroga’s tales into Russian from the point of view of cultural linguistics. The relevance of the problem discussed is due to the growing interest in the discourse of fairy tales in modern linguistics and numerous attempts to translate and adapt classical fairy tale stories to different cultures. The choice of the analyzed material is determined by the presence of various types of vocabulary with national and cultural components in the tales of Horacio Quiroga that reflect the national world picture of the peoples of South America and constitute the aesthetic value of a literary work, which must be adequately conveyed in the translation. The introduction clarifies the notion of the national world picture and defines its components in a literary tale. The specific features of construction and linguistic content of Horacio Quiroga’s texts are highlighted. The purpose of the study was to identify the optimal strategy for conveying the national and cultural background in the translation of literary tales into Russian. The main difficulties in conveying the onomastic component of a tale and the employed figures of speech in translations from Spanish into Russian are analyzed. Special attention is given to the methods of compliance with the genre and style norms of translation, including the neutralization of elements of cruelty and naturalism in modern fairy tales for children. As a result, a conclusion is made that the domestication strategy makes it possible to adapt the text for the recipient who does not have an extensive background knowledge about the culture of the original text, which is especially important when translating children’s literature. The inevitable loss of information does not affect in any way the adequate transfer of the national world picture to a different culture and the reflection of the main moral values laid down by the author in the literary work.
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Коровина, Надежда Степановна. "On the question of the interaction of Komi and Russian fairy tales (CIP 706 «The Maiden without Hand»)." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 5 (December 10, 2019): 101–12. http://dx.doi.org/10.26158/tk.2019.20.5.008.
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В данной статье предпринята попытка на основе конкретного сказочного сюжета о Безручке (СУС 706) исследовать особенности взаимодействия фольклорных произведений народов, не родственных этнически, но тесно общаюшихся на протяжении длительного времени и имеющих близкие культурные традиции. При рассмотрении данного вопроса использовалась методика сравнительного анализа, позволяющая установить, каким образом международный сказочный сюжет становится культурным достоянием народа коми, т. е. прояснить историю национального сказочного репертуара. В процессе анализа коми сказок о Безручке выявлено сходство с русскими вариантами в области содержания, в типах героев и способах их создания, развитии действия и последовательности эпизодов. В результате автор приходит к выводу о том, что сюжет о Безручке (СУС 706) заимствован у русских. Одновременно в статье отмечен тот факт, что рассмотренные варианты коми сказок имеют свою специфику и не создают впечатления однообразия. Это происходит за счет того, что постоянные элементы, представляющие композиционный стержень сюжета, во-первых, обрастают своеобразными деталями, которые придают повествованию национальный колорит. Именно в них отражается быт, привычки, обычаи народа коми. Во-вторых, своеобразие каждого варианта во многом зависят от индивидуального стиля, степени исполнительского мастерства, творческой манеры, отношения к данному сюжету того или другого исполнителя. В-третьих, именно в отдельных его вариантах сказываются социальные, временные различия, в совокупности своей отражающие исторические изменения сказки In this article an attempt is made on the basis of a specific fairy-tale story about «The Maiden without Hand» (CIP 706) to explore the features of the interaction of folk works of peoples who are not related ethnically, but who closely communicated for a long time and have close cultural traditions. When regarding this issue, we consider it appropriate to use the methodology of comparative analysis, since it is the comparative study of Russian and Komi variants of the fairy-tale plot that allows us to establish how the international fairy-tale plot becomes the cultural heritage of the Komi people, to clarify the history of the national fairy-tale repertoire. In all analyzed Komi tales about the Maiden without hand there is a similarity with the Russian variants in the development of the action, the sequence of episodes, the type of characters, their characteristics, the common ideological content. The structural and typological analysis allows us to conclude that the plot about «The Maiden without hand» (CIP 706) was borrowed from the Russians. However, the considered variants of Komi fairy tales do not create the impression of monotony because the constant elements that represent the compositional core, firstly, acquire peculiar details that give the narrative a national flavor. They reflect the life, habits and customs of the Komi people. Secondly, the originality of each option depends largely on the individual style, the degree of performing skills, creative manner, attitude to the story of a particular artist. Thirdly, it is in its individual options where the impact of class, time differences manifest themselves reflecting the historical changes of the tale.
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Ustinova, O. A. "Self-image of a child and its formation by means of spiritual and moral dialogue." Psychological-Educational Studies 6, no. 1 (2014): 238–48. http://dx.doi.org/10.17759/psyedu.2014060127.
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We present the theoretical and methodological assumptions and results of practical application of "Open yourself" technique developed by the author and aimed at the formation of the elements of self-image in preschool children. We use the developmental potential of the method proposed by outstanding domestic psychologist and psychotherapist T.A. Florenskaya. The identity formation occurs in the process of creative communication of a child with well-known characters of Russian fairy tales in the context of the game situation, created in co-authorship of an adult and a child. The author shows that developing strength of fairy tale character is in its polysemantics, allowing the child to grant characters new dimensions, create him anew in dialogic communication; fairy tale character helps the child to implement a reflexive access to meanings infinity space, to look at himself, to see the authenticity and value of his self-image and self-image of the Other. According to the author of the technique, these characters actualize the dialogic unity of several spiritual spaces: the child himself, the grown-up interacting with him, and the context of Russian culture space.
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Gelfond, M. M. "Semantics of the Fictional Draft: Once again about B. L. Pasternak’s poem “A Fairy Tale” (“Skazka”)." Critique and Semiotics 38, no. 1 (2020): 351–62. http://dx.doi.org/10.25205/2307-1737-2020-1-351-362.
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The article deals with the fictional creative story of Boris Pasternak’s poem “The Fairy Tale” (“Skazka”), described in the novel “Doctor Zhivago”. It is fundamentally different from the real story: if Pasternak changed the plot and partly the genre of “The Fairy Tale”, as evidenced by his letter to Nina Tabidze, Yuri Zhivago in the novel changes the poetic meter twice – and at the same time comprehends its semantics. The differences between the real and the “novelistic” creative history focus on the semantic halo both of trochaic trimeter – the meter of “The Fairy Tale”, and of trochaic pentameter and trochaic tetrameter, used at starting of the first and intermediate edition. The article shows how the first edition, written in pentameter (trochaic or iambic), connects “The Fairy Tale” with “Hamlet” and “The Gethsemane Garden”. The assumption of a genetic link between the three texts and a few significant plot coincidences enables to find invariant embodiments of one lyrical plot in different genres in them. The triangle: “Hamlet” – “The Fairy Tale” – “The Gethsemane Garden” built within the cycle varies the most important topic of the cycle and the novel – the strategy of individual, personal confrontation with “the twilight of night” and “the years of timelessness”. The study of the second stage of the fictional story “The Fairy Tale” clarifies a number of Pushkin’s contexts, not only in the “Poems of Yuri Zhivago”, but also in the novel as a whole. The study of semantic halos arising at different stages of Zhivago’s work on “The Fairy Tale” allows including it in the context of Russian lyrics.
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Orzechowska, Joanna. "Ekwiwalenty rosyjskiej nazwy własnej Kołobok w języku polskim." Acta Polono-Ruthenica 3, no. XXIV (September 30, 2019): 45–54. http://dx.doi.org/10.31648/apr.4659.
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The paper presents an analysis of Polish equivalents of the Russian proper name Kolobok. Their diversity results from insufficient familiarity with the Russian source text (a folk fairy tale) in Poland, which is caused by little acquaintance with the hero of the story and lack of a Polish equivalent of such a fairy tale character that carries the same communicative value. Examples in-cluded in the paper do not always preserve the communicative value of the context: in few cases, it had been assessed which elements of the meaning are relevant and significant, and which are redundant, i.e. semantically irrelevant. Provisional equivalents in most cases are based on the inner semantics of the discussed proper name.
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Sibirnaja, Maria. "Performative potential of a dramatic fairy tale and its inclusion in the educational and didactic process." Świat i Słowo 35, no. 2 (November 26, 2020): 301–13. http://dx.doi.org/10.5604/01.3001.0014.5479.
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Specific art practices, which include performance, are especially prevalent in popular culture at the turn of the 20th and 21st century. The concept of ‘performance’ means an action in the process of which creation involves a new experience both for the performer of the action and for the recipient. However, it is necessary to distinguish performance as a type of cultural action, dramatization, and performative potential of a work, creating conditions for influencing the consciousness of a person who, when perceiving a work, becomes a full participant in a creative act. Modern fairy-tale plays written by playwrights based on well-known works or the authors’ own dramatic tales have great performative potential. They connect the game principle, the performativity of a fairy tale, capable of activating empathy, influencing the child’s consciousness through the magic of the word, and the performance of the drama, the goal of which is to involve the young viewer in the show. At the same time, the theatrical performance of fairy-tale plays and the metatheatrical techniques involved in them have a significant visual impact on the young audience, which also contributes to the performative dialogue. The moralizing orientation of modern fairy-tale plays, reflecting the current moral and ethical problems of the society, increases the efficiency of the educational process, and contributes to the fulfilment of modern didactic tasks. In this article, based on the Russian playwright Anna Bogacheva, an attempt is made to identify those features of modern fairy-tale plays that convey their performative character and didactic potential.
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Mahiet, Damien. "The First Nutcracker, the Enchantment of International Relations, and the Franco-Russian Alliance." Dance Research 34, no. 2 (November 2016): 119–49. http://dx.doi.org/10.3366/drs.2016.0156.
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Despite the lively scholarly debate on the place of The Sleeping Beauty (1890) in the political and cultural history of the Franco-Russian alliance in the 1890s, the representation of international relations in the first production of The Nutcracker (1892) has so far received little attention. This representation includes the well-known series of character dances in the second act of the ballet, but also the use of French fashion from the revolutionary era to costume the party guests, the mechanical dolls, the toy soldiers, and even Prince Nutcracker. The fairy-tale world offered a frame that not only promoted the absolutist aspirations of Alexander III's regime, but also solved the symbolic challenge of a problematic alliance between republican France and tsarist Russia. The same visual repertoire informed diplomatic life: four years after The Nutcracker, in 1896, the décor for the state visit of Nicholas II and Alexandra Feodorovna in France duplicated that of the fairy-tale world on stage.
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Goryaeva, Baira B., and Yu Lan. "Лиса как персонаж сказок о животных ойратов Синьцзяна." Монголоведение (Монгол судлал) 12, no. 2 (August 25, 2020): 315–25. http://dx.doi.org/10.22162/2500-1523-2020-2-315-325.
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Introduction. Animal tales are the oldest genre of oral art. Genetically, they go back to myths about animals developed through human aspiration to learn the outer world. Myths had a magical meaning for man who believed himself related by blood to animals, which inevitably resulted in attributing individual characteristics to personified animals. The defining features of animal tales as a genre are the system of characters, trick as a basis of the plot, and dialogue that creates the drama of events. Animal tales are an organic part of the magic epic of many peoples, including the Oirats of Xinjiang (China) where the former are presented in large numbers. Over a hundred texts of myths and fairy tales with animals as central characters have been published in Clear Script folklore collections and periodicals. One of the main characters to such fairy tales is fox. Goals. The article seeks to review texts of animal tales which reveal different characteristics of fox as a trickster, determine the range of fairy tale texts with fox as a main acting character. Fairy-tale folklore of Xinjiang Oirats of Xinjiang — including tales about animals — are thus newly introduced into Russian scientific discourse. Conclusions. Stories ending with triumphs of the sly fox constitute a majority of the tale cycle about sly animals. It should be noted that this character is equally characterized by cunning and stupidity. As is shown by the texts introduced, fox is far not always that victorious but rather may fall victim to other characters’ deeds.
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Mescheryakova, Olga A. "Перцептивное обозначение в русской народной сказке." Slavica Wratislaviensia 165 (February 1, 2018): 277–85. http://dx.doi.org/10.19195/0137-1150.165.24.
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Perceptual notation in the Russian folk fairy-talePerceptual notation captures information received from different sense organs but predicated by the same consciousness of “a perceived human being”. In the cognitive context semantics of sensory nominations reflects elements of the perceptual concept. The fact that the verbalization of its facultative elements depends not only on the type of discourse folklore, genre a tale, but also on its subtype a fairy-tale is claimed to be a hypothesis of this research. It settles that in the Russian folk fairy-tale the semantics of perceptual notation is predicated by the opposition “real — irreal world” and the semantics element “fabulous, belonging to the other world” is a basis of the semantic content of the perceptual notation. Besides that, the perceptual semantics in this type of fairy tales correlates with the aesthetical, axiological views of the folklore community on nature and human beings, reconstructing the folk ideal or ant-ideal. Перцептивне означення у російській народній чарівнiй казціПерцептивне означення фіксує інформацію, що надходить від різних органів чуттів, але обумовлену єдиною свідомістю «людини сприймаючої». У когнітивному плані семантика номінацій сенсорики відображає ознаки перцептивного концепту. Те, що вербалізація його факультативних ознак залежить не тільки від типу дискурсу фольклор, жанру казка, але і від підвиду жанру чарівна казка, становить гіпотезу даного дослідження. Встановлюється що в російській народній чарівній казці семантика перцептивної номінації обумовлена опозицією «реальний- ірреальний світ» і семантична ознака ‘чудовий, що належить іншому світу’ є основою змісту перцептивного означення. Крім того, в даній групі казок перцептивна семантика співвідноситься з естетичними, аксіологічними поглядами фольклорного соціуму на природу і людину, реконструюючи народний ідеал або антиідеал.
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Kostenko, Natalia Yu. "THE FIRST WORK BY E.M. MELETINSKY CONCERNING THE HERO OF FAIRY TALE." Folklore: structure, typology, semiotics 3, no. 1 (2020): 144–51. http://dx.doi.org/10.28995/2658-5294-2020-3-1-144-151.
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The article considers the history of creation of a previously unpublished work by E.M. Meletinsky, preceding the first draft of his doctorate thesis and monograph “The hero of fairy tale”. A typewritten copy of it was preserved among the documents seized during the scholar’s second arrest in 1949 and later donated to the library of Petrozavodsk University. During his time as a post-graduate student in the Central Asian University (then-name of National University of Uzbekistan) Meletinsky was already interested in historical poetics and folklore studies. That resulted in the “Fairytale plots in question about their everyday meaning” article. The fact that it was the first ever Meletinsky’s work on fairy tales is obvious not only from the documents and memoirs of Meletinsky himself, but from the very structure of the article: in the first chapters the author, taking a problem posed by A.N. Veselovsky in “The poetics of plots” – “to check Russian data about the third sibling, the little fool, the cinderwench against other people’s fairy tales” – as a basis, dwells extensively the motif of the youngest sibling in world fairy tales and the history of studying it, but in the last chapter he moves to the analysis of another motif – the tales about a “poor orphan”. Namely that motif, being in stadia way older, takes centre stage not only in the 1948 thesis, but in all of Meletinsky’s works on fairy tales prior to the second arrest, both published and unpublished.
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Sahakyan, H. A. "Fairy Tale “Stones of Mteulety” by A. Remizov and The Image of Mountain Spirit-Giant." Studies in Theory of Literary Plot and Narratology 15, no. 1 (2020): 89–103. http://dx.doi.org/10.25205/2410-7883-2020-1-89-103.
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The fairy-tale “Stones of Mteulety” by A. Remizov is an author’s fairy tale created on the basis of a folklore plot recorded in the Caucasus in the in 1915, and was first published in 1916 in the magazine “Ogonek” (“Spark”). A. Remizov related this fairy-tale to Georgian fairy- tales. Despite the noticeable influence of literary legends, A. Remizov retained the folkloric basis that reveals the ideas of the primitive man about the process of the soul’s transition “to that world”, to “the other world”. The image of a crystal mountain is often found in Russian fairy tales. The mountain is inhabited by a snake, whose name “Gorinich” (means “son of the Mountain”). The entrance to the “other kingdom”, which continually opens for several minutes, is in this mountain. In the tale “Stones of Mteulety” by A. Remizov the mountain-spirit acts as the master of the mountain. It is this mountain spirit that controls the rockfall and shuts the door between the kingdoms. Both the motif of matchmaking and the motif of death, as the kidnapping of the soul, can be revealed in an abduction. The motifs of abduction are disclosed both in world folklore and in the religious beliefs of different peoples. In early folkloric texts, the function of abduction is assigned to representatives of the animal world, chthonic and supernatural beings, which do not have a human appearance, and still preserve the nature of the animal-glutton. When analyzing the motif of abduction, the characters of the “hero snake-fighters” Artavazd and Amirani from Armenian and Georgian mythology, chained in the mountain caves, were also analyzed. It is established that the functions of the Snake are typical of the characters of Armenian and Georgian mythology, of vishaps and devs, in particular, whose appearance and multi-headedness also draws obvious parallels with the Snake. The analysis of the Snake-eater and its appearance leads to the notions of the Snake-abductor and of death as abduction. When analyzing the topic of the rockfall in the mountains in Remizov’s author fairy-tale, one reveals the features of a love abduction, which is one of the types of death in folklore and mythology. In the final scene of A. Remizov’s fairy-tale “Stones of Mteulety”, the mountain spirit-giant, who fell in love with the shepherdess Nina, kills her in order to connect with her in the world of the dead. Thus the features of the motif of the abducted beauty are revealed in A. Remizov’s author fairy-tale “Stones of Mteulety” and this motif genetically goes back to the most ancient notions of death.